Ever since Nikon debuted the 24mm f/1.4G ED lens five years ago, the lens has been a popular choice among professionals and serious amateurs, thanks to its excellent optical formula and coating technologies that yield crisp and pleasing images. However, its high price point and the relatively heavy weight made it a rather specialized tool, so a cheaper and lighter f/1.8 version of the lens was much needed to complement the 20mm f/1.8G and the 28mm f/1.8G lenses. Nikon filled this gap with the Nikkor 24mm f/1.8G ED in August of 2015, finally addressing the needs of many photographers like me, who had been wanting such a lens for a while now. When I finally received my copy of the lens, I wondered how it would compare optically not only to its older f/1.4G brother (which I used to own and love), but also to other popular 24mm primes such as the Sigma 24mm f/1.4 Art and the Samyang 24mm f/1.4. After getting a hold of all three, I hit the road with the purpose to find out which lens would serve as my dedicated 24mm prime in the future. In this review, I will not only discuss the Nikon 24mm f/1.8G lens in detail, but also compare it to the above-mentioned 24mm primes.
This is an in-depth review of the Nikon 24mm f/1.4G ED lens that was announced in February of 2010 together with the Nikon 16-35mm f/4G VR lens. The Nikon 24mm f/1.4G lens is a professional-grade lens for enthusiasts and professionals that need the highest quality optics of a fixed wide-angle lens with a large aperture of f/1.4 for low-light situations and shallow depth of field to isolate subjects from the background. The lens incorporates modern optical design and technology, and it is designed for both FX and DX sensors (equivalent of 36mm on DX), yielding amazing clarity and contrast in most challenging lighting conditions. The Nikon 24mm f/1.4G follows the footsteps of the legendary Nikon 28mm f/1.4D lens, which was known for its exceptional quality and sharp optics, even at large apertures. The new Nikon 24mm f/1.4 is no exception – it performs remarkably at most apertures and it has very impressive sharpness from center to extreme corners, especially when stopped down a little. Nikon has incorporated the latest technology and optical formulas to this lens, including AF-S silent-wave focus motor and Nano crystal coating. The lens is also sealed against dust and tough weather conditions. Just like most Nikon professional lenses, the lens has a 77mm filter thread, which is great news for landscape and architectural photographers.
It has been 30 years since Nikon first introduced the original Nikkor 20mm f/2.8 Ai-S lens and long 20 years since the autofocus version, the Nikkor 20mm f/2.8D was released to the market. Since then, the 20mm prime sadly did not receive much attention, so it was about time for Nikon to refresh the line with a modern version. Nikon finally revealed a replacement on September 12, 2014 and the new lens came with a nice surprise – the Nikkor 20mm f/1.8G ED is not only completely revamped in terms of optical design, but it is also 1.3 stops faster than its predecessors. Personally, I have been very interested in checking out the new 20mm f/1.8G lens, because I found the 28mm f/1.8G to be a bit too long for my taste. And although I love my 24mm f/1.4G (see my detailed review here), it is pretty expensive and often quite heavy to carry around. Thus, a wider, lighter and much less expensive lens sounded very appealing to me. I have had the joy of shooting with the Nikkor 20mm f/1.8G for the past three months and as you will see in this review, the lens deserves high praises for its superb optical performance. Without giving any more spoilers, let’s jump into the review and see where and how it shines.
When I decided to sell my professional Nikon cameras and glass and make the switch to Fujifilm, the question I had was “will I still be able to photograph birds?” During spring migration last year, I was fortunate enough to be able to get a hold of the Fujifilm XF 100-400mm f/4.5-5.6 R LM OIS WR lens. In this article, I will let you know how the X-T2 and XF 100-400mm combo stacked up for bird photography.
Thanks to the recent Fujifilm rebates, I have been able to expand my lens line-up for the Fuji GFX 50S that I have had the pleasure of shooting with ever since it came out. I am very impressed by the Fuji medium format system, especially its lens line-up, and I consider it to be ahead of its competition in a number of ways, as highlighted in my review. However, having gone through multiple lens samples of different lenses (which I will be reviewing in the next few weeks), I wanted to warn our readers of potential issues they should watch out for. While I am generally happy about lens variation of GF lenses and I am especially happy with their excellent performance, I am not a big fan of Fujifilm’s QA processes. It seems to me that Fuji is almost rushing with the GF lenses, trying to deliver as many units as possible to try to match the demand, while paying less attention to its manufacturing processes. I have already gone through multiple samples of a number of lenses, including the Fuji GF 63mm f/2.8 and Fuji GF 110mm f/2 and I have found debris between lens elements that is impossible to shake off or remove without having to send the lens to a Fuji service center.
Purchasing camera gear can be a frustrating experience. Camera companies and big outlets highlight the importance of buying from authorized channels due to service, support and warranty issues, whereas many Internet-based websites and some small photography shops offer gray market products at very appealing prices, sometimes with significant enough discounts to make photographers seriously consider them. And then there are regional pricing differences. When a product is launched, manufacturers point out product’s MSRP, which can vary greatly between different markets. In this article, I want to bring out the issues I see with gray market products, as well as issues related to inconsistent product pricing, which can make the shopping experience rather frustrating.
Perhaps one of the most anticipated camera releases of 2017 has been the D810 successor, the Nikon D850. Nikon’s high resolution camera body shook up the industry once again, this time with a strong punch, making the Nikon D850 the most versatile DSLR on the market. Thanks to its 45.7 MP sensor with a native ISO sensitivity range of 64-25,600, upgraded 153-point autofocus system, advanced 181,000-pixel RGB metering system, 7 fps continuous shooting speed that can be bumped up to 9 fps with a battery grip, a fully weather sealed construction and a bunch of other hardware and software upgrades, Nikon managed to pull out a camera that can satisfy every photography need – from landscapes and architecture, to sports and wildlife. In this review, I will be assessing the camera from many different angles and comparing to its predecessor, as well as its primary competition.
Note: This is an ongoing review that will be going through a lot of changes and additions over the period of the next few weeks. I decided to consolidate all the information related to the camera into a single review, rather than piecemeal it to many different articles. Expect to see a lot more content – every time I publish new information, I will be bumping up the review to the front page of the site. Also, I am currently working on uploading a few images for the review. More images will be posted very soon!
In this in-depth field review, we are going to have a look at the new Nikon wide-angle DX lens Nikkor 10-20mm f/4.5 – f/5.6 AF-P ED VR, which was launched in June 2017. This lens was announced among two other professional wide-angle lenses (FX Nikkor Fisheye 8-15mm and FX Prime Nikkor 28mm f/1.4). While those bigger brothers raised a lot of expectation for full-frame shooters, the plastic entry level 10-20mm DX lens hardly caused any excitement. In this review I will show that this lens deserves the attention of both amateur and semi-professional photographers.
I have been debating for quite some time to write this article. On one hand, I feel like I have an overwhelming responsibility to tell our readers the truth about the camera industry and the economics of running a website, and on the other hand, I know that such a provocative article would probably earn me plenty of hate from the publishing industry. But after seeing a few of the past events related to the launching of a few cameras, the same thoughts kept on creeping up and I finally decided to do it. I decided to write on a topic that nobody wants to talk about – how camera companies and everyone else involved in the camera industry are banking on people, AKA the consumers. I wrote this article primarily because of the sense of guilt I have had for years now and also because I do not want our readers to fall into the traps of consumerism. Grab a cup of coffee, sit back and get ready for some entertainment – I assure you that it is coming!
In this article, we gathered and compiled the available information on buffer capacity of all current Nikon DSLRs. The below table outlines many of the current and discontinued Nikon DSLR models, along with such information as sensor resolution, continuous shooting speed (fps) and RAW / JPEG buffer capacities. While most of the RAW buffer information is included, we decided not to bother with smaller JPEG sizes, since most cameras presented below can accommodate 100 or more of smaller JPEG images in their buffers.